Noemi Smolik

  • Wainer Vaccari

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    “I will repopulate this world, my friend: There shall be men, women, and animals, slightly insane creatures. I will hurl

    them into our bleak valleys, and they will always show us the hidden paths and places, the most drunken, most viceridden

    cities: no saints!” This promise is made to us by Wainer Vaccari, and indeed his paintings are a multivoiced choir of

    bodies, lusts, obsessions, intoxication, folly, madness, and desire, all crooning a sharp, earsplitting mockery of our

    modern faith in the autonomy of the individual. From above and below, from water and earth, from animal and instinct,

  • Thomas Bernstein

    According to Jörg Johnen, who wrote a pamphlet that accompanies this show, Thomas Bernstein’s sculptures appeal to us because of the humor and subtlety with which the forms, colors, and materials of such objects as tulip planters, punch bowl ladles, and toilet-brush holders become erotic, friendly, or ominous images signifying gestures and relationships. Johnen accurately sums up the sculptural essence of Bernstein’s work, which reveals itself to the viewer only little by little. No doubt these sculptures exert a direct appeal, indeed attraction, that almost instantly makes these bizarre works

  • Attila Richard Lukacs

    The unusual and provocative works of the Canadian painter Attila Richard Lukacs show an unsettling world of half-naked men with shaved heads, their appearance possibly identifying them as members of the European and American urban youth movement broadly referred to as “punk.” Lukacs depicts these figures as small, diabolical, self-styled gods, whose rituals of pain, violence, and eroticism lie outside the moral categories of good and evil.

    The artist first showed these paintings last spring in West Berlin, where he currently lives. In the new works he adds to his human figures, as an equal partner,

  • Klaus vom Bruch

    In Klaus vom Bruch’s latest installation, Radarraum (Radar room, 1988), three black boxes of various heights—each with crisscross fencing on two sides—are distributed through the room. Their upward-facing TV monitors flicker and glimmer in green, yellow, orange, and red, flashing an array of letters and numbers and emitting squeaky sounds. In the middle of the room, a 7-foot-wide rectangular radar screen, installed at eye-level, turns on its axis. A steel scaffolding, extending from the ceiling and containing an engine, keeps the radar screen turning.

    Upon entering the room, the visitor intuitively

  • Ian Hamilton Finlay

    The classically elegant rooms of this gallery, formerly a moated castle, offered an ideal background for this installation of recent work by Ian Hamilton Finlay. In Osso, 1987, three huge white marble blocks lying on the floor appeared to have been violently wrested from their quarry, and only partially treated—one block bears an SS symbol. (When this piece was displayed in France, it triggered such indignation that the French minister of culture was forced to cancel a contract with Finlay for a monument commemorating the bicentennial of the French Revolution.) But Finlay’s goal in this piece

  • Rune Mields

    Rune Mields creates work in a formidable, quirky array of styles—large black paintings containing signs taken from ancient geometry; paintings on which male nudes are drawn on a paleolithic fertility symbol, accompanied by quotations from the Song of Songs; paintings filled with numbers through which a medieval warrior can be seen; grid paintings that reveal the sieve of Eratosthenes, an ancient method of discovering prime numbers that still serves as a foundation for modern computer programs; paintings with notes and diagrams, or Arabic and Persian ornaments; everything in black, gray, and